American Bravado.

A month ago today I started working as a dishwasher, and to officiate my position we were robbed on Sunday. They were extremely brazen robbers: I was in the kitchen when I heard someone outside our back door. I walked over and saw someone sitting in what looked like a get away car, not nearly as cool as Ryan Gosling in Drive but the effect was there. I was suspicious, and the staff had told me about things being stolen before,  so I closed and locked the door. I went back to work and thought about checking the basement to see if someone had in fact snuck in, but by the time I worked up the courage to go check I heard footsteps running up the stairs. I got to the door and saw one dude with what looked like a big case of beer running and jumping into the car.

I told my fellow employee and she bolted out the door (thinking they had her purse) and sprinted down the road after them. She returned out of breath and with the license plate number. We proceeded to inform the staff and the cops were called. They came down to the restaurant, stated they had caught the car and wanted as much information about what happened only moments before. I proceeded to act everything out (as I do) and one of the senior staff members went with the cops to identify the goods that were taken. 

As we got ready to leave for the night my fellow employee said that I had passed my restaurant initiation. 

Boom. 

Before this incident, my week started off with an audition for a principle character in a feature that my good friend had been cast as the lead in. He had pushed for me to see the director and my agent managed to get me in the room, which was awesome. The days leading up to the audition I thought about nailing the part, but didn't actually hunker down and solidify my choices until the day of. I had a friend of mine help me prep before and when I finally got in the room I froze up and tried to play what my pre determined judgment of the character was, or rather what I thought they wanted to see. 

Needless to say I tanked it, and left rather disappointed in myself, not only for knowing that I wasn't as prepared as I could have been, but also because I felt like I was letting people down. It was then that this Matt Damon quote popped into my head, "It’s just better to be yourself than to try to be some version of what you think the other person wants." It dawned on me that I needed to stop doing just that, and actually be true to myself, I needed to actually live what I have been preaching: Ideally, these people are looking for truth. The most I can offer them is myself, which happens to be a lot. I'm sure they go through hundreds of people trying to BE the character and I don't wanna be just another one of those. I want to be real and make them stop and watch. 

I made a pact to myself that from now on I would give myself to each audition 150%, as Cory Monteith told me to, and walk in confident and prepared. No more of these sloppy, half there attempts. I'm kind of shocked in myself that I actually had to make this pact, but me walking into that room and being surprised by how cold things were made me realize all I had to make myself comfortable, was myself. No one was going to hold my hand and ease me into the work that needed to be done. I need to be able to work comfortably under pressure and the only way I can do that is by being prepared.

Later in the week I had my first singing lesson in years with Susan Cuthbert, who is awesome. She was also Christine in the original Canadian cast of Phantom of the Opera, which made my knees buckle when she told me. Well, to be honest she told me indirectly. I was signing some of the Music of the Night and when I got to the final note, she replied, "That's how Colm would do it every night, while he held me in his arms..."

I died a slow nostalgic death. For those of you who don't know: My mom and I love Phantom and I grew up listening to the Toronto cast recording. Susan throwing this little tidbit out about her and Colm Wilkinson threw me for a complete loop. I realized who I was in the room with and became a tad star struck. Luckily this was closer to then end of the lesson. 

Before this moment happened, Susan and I talked a lot about performance and how even to this day she still gets nervous and is critical of herself in rehearsal; something that, as you know, I completely identify with. We also talked about how I felt isolated not being able to sight sing or play any instruments, that the way I learn how to sing a song is by listening to it repetitively so that it becomes ingrained in me. 

She said that she uses the same method. 

To find someone, who continues to have a career in musical theatre and shares the same method of learning music as me was deeply encouraging. She told me that I may not be as musically gifted as those that are able to sight read like kings, or play piano but I am still able to sing well, follow melodies and rhythm and ultimately perform what is asked of me. Who cares how I get there. It left me feeling so full and made me realize how much more achievable a musical theatre career could be. 

I left my lesson feeling so positive and excited for my next one. 

Last night I audited a class at Armstrong Acting Studio, specifically Salvatore Antonio's level 4 class. It reminded me of the scene studies we would do at NTS, the biggest difference being that there is a camera involved. I took a lot of notes, as Salvatore was full of golden advice nuggets, not only about scene work but about the industry. Looking back over my journal, as I rode the streetcar back to my apartment, there were some things that resonated with me. Especially where I am still in this state of not knowing. 

Salvatore spoke about how actors tend to talk profusely about their issues with a scene rather than simply doing it. As an actor, I have found myself being intimidated by what was being ask of me in a scene or complaining that it was "too hard" or "what do they expect me to do with all this stage direction?" and all kinds of personal issues. He talked about how there is always going to be a way out, something to complain about, but the people who succeed are the ones who can move past that attitude and give everything to the request at hand. Which is, for 1-8 minutes (for film) of ones life and commit to what is written on the page. It's that simple. 

He said this great thing, "if we are thrown off by everything that is fake (meaning what the given circumstances of the scene are) then we are in the wrong profession." If as an actor I am going to waste my time focusing on the things that are hard or uncomfortable, rather then stepping up to the plate and knocking it out of the park, then I have to question what I'm doing with my life. Dread and complaints have no place in my work. This is not to say that they don't exist, they do. But as Salvatore suggested, write down a list of the things ones hates about the scene; look at them, acknowledge them, and get back to work. Or a phrase that I am stealing from him, "Journal that shit out!"

People don't wanna hear about someone’s issues, ain't nobody got time for that, they want to see the person who can do the job. And I need to be that person, or at best give my attempt at being that person, which leads me to something else Salvatore spoke about: Start viewing auditions as simply attempts. Stop being so precious about the work, dive into it and have fun. Even the best actors have to sit in that waiting room for their opportunity to give an attempt at a role. Everyone gets the same sides at the same time, has to sit in the same room and do the same lines as everybody else, so the only things I have control over is how my time is used before the audition, and focusing on how to do the best version of me in the audition. If after I have done that and they still don't like me, well then that's their issue not mine. At the end of the day, if I was truthful to myself, did the prep work and was confident in what I was offering that’s all I have control over, especially in film. 

It's funny how much control I want, but actually have to let go of to be successful in this industry. So many things are out my control and I simply need to do what I can and leave the best impression possible. 

Salvatore spoke about an 'American Bravado' and I thought this encapsulated exactly what I have been looking for.  This translated to me as a pride and ownership over my work, a claiming of territory, and the competitive and patriotic nature of Americans. I know that I have these qualities inside of me (I am half American) and I really need to let them thrive. I need to stop excusing myself or making up reasons why I couldn't give the time to something I claim to care so much about. I don't take no for an answer in my personal life, why should my artistic life be any different? 

Thinking about this reminded me of what Colm Feore said to us (NTS) when he won the 2014 Gascon Thomas Award, "If you want to be where I am, prove it." I think this is one of the biggest hurdles I am facing, simply proving to myself that this dream is a reality. It is so easy to fall into doubt and negative feelings. I just have to go for it, as simple and cliché as that may sound, it's the only thing that is stopping me from rising to the top. Also preparation. I have coasted through a lot of projects because of my talent and that can't really help me anymore. This is the big league; I am not in the safe environment of school where teachers are focused on my needs. I have chosen to enter this storm of an industry and if I don't fight hard I will be ejected to the outskirts. I want, more than anything, to be in the eye of it. 

I have been buying books instead of food, and yet somehow I still feel full. 

I got sunburnt today because I was at the beach for most of the afternoon. 

It was glorious. 

It may seem as if Salvatore has paid me to quote him as much as I have, but this is the last one: "The great actor is simply the great observer; he who observes himself and those around him." When I allow myself to be informed by my actions, and allow others actions to inform me I become better as a person and ultimately an actor. Yet another cliché that when actually put into motion can change ones life. 

W.

Doubt.

Hey Abyss,


Tomorrow I, along with my class, will be heading into rehearsal for the second show of our graduate season: Our Country's Good by Timberlake Weretenbaker. I am not really sure why, but I am extremely excited for this process. My class and I had the opportunity to see Tadeusz Bradecki's work at the Shaw Festival earlier this year, as he also directed Guys & Dolls. I had a blast at the show, and perhaps that is why I am so excited to work with him. Although, there is a difference between a 1950's musical and a historical piece that is set in 1788, Australia.

This week we were working with Jackie Maxwell, who is the Artistic Director of the Shaw Festival, on scenes from Three Sisters. The class was intended more for the 2 directing program students, and focused on balancing crowds on the stage through dynamic and relationships, which in turn continues to feed the actors. It was an interesting experience and helped me to not just see my relationship to the other characters, but also the big picture and how there can be a domino effect. Working with Jackie was great. She is super chill and really easy to talk to, which surprised me. Personally, I have always been rather intimidated by AD's, so that fact that she was extremely approachable and kind made working with her a breeze and began to debunk my theories.

Her class was the only one we had which made it a pretty lax week, in terms of NTS. We finally got a full two day weekend after  Lion in the Streets and we had another one this weekend, which I assume was to be used to prep for Our Country's Good. Needless to say, I used the time to breathe and actually get some of my "everyday" things done.

This past Friday, the student body went to the Monument National to be privy to the reception of this years winners of the Gascon-Thomas Awards: Colm Feore and Suzanne Lebeau. Both of them are extremely inspiring and talented artists and if you don't know who they are, I recommend clicking their names and finding out.

Colm said some really pertinent things, in his seemly improvised speech, that have continued to resonate with me over the weekend. He spoke about preparedness in the young actor, and how it is essential for survival to be constantly honing your craft. How at any moment one must be ready to do what is asked. That is the key to getting work and having longevity. One must invest and prove that they are capable and ready. 

Honestly, I couldn't agree more with him.

But as I nodded my head in compliance with his bold and energetic speech, I came to the realization that I needed to work harder. Now, I always work hard in the moment, that has never been a problem whether on stage or behind the camera. The work that Colm was speaking about was when no one is looking, when there is no one to be accountable to other than yourself and your bank account. And in that moment listening to Colm, I saw how lazy I can be. In the past, I have blamed it on the busy schedule we have at the school, or that I am tired and have other things that need my focus. But actually, nothing needs my focus more than my career. And that is the truth.

Along with this acceptance of my lazy tendencies, I have also accepted that I need to stop doubting myself as an actor. It is a continued process of relinquishing control, and now running along side that is my abandon of self doubt. There is nothing wrong or arrogant with knowing that I have something to offer, that I have talent. I can accept that I may not know what my artistic vision is yet, or what deeply motivates me to create, but I do know that I have something unique to bring to the table and I am good at what I do, which is being an actor. And accepting that is a huge step. I have doubted my abilities and strengths since first year, and it is only now that I can see that I do have them, and I am special, despite the cliché of that sentence.

Heading into Our Country's Good with this state of mind, and my excitement for the work that is to be done with this show makes me feel extremely confident about the next few months and my progression in my final year at NTS.

As my conversation ended with Colm he said to me, "When we meet again, make sure to remind me that we met here in the lobby of the Monument." I replied, "Don't worry, I will."

Great News: All the Wrong Reasons had it's Canadian theatrical release and is playing in all the major cities make sure you get out to see this amazing film featuring the Canadian talents of Karine Vanesse, Emily Hampshire, Kevin Zegers and the late Cory Monteith. Oh, and keep your eyes peeled for yours truly. You can check locations here --> Showtimes

Also, as a reminder, on Novemeber 16th, BONE DEEP will premiere on CBC for your watching pleasure, and it will be uploaded to iTunes later that day if you don't have cable. I was nominated for an ACTRA award for my performance, so if you like me, you might like the film!

Night Abyss.

What is My Life?

Hey Abyss,

These last two weeks have gone by faster than a jar of  Kraft Crunchy Peanut Butter in my cupboard.

As you may know, last weekend I had the opportunity to go to the Toronto International Film Festival (TIFF) premiere of All the Wrong Reasons and had an absolute blast. I took a bus up on Saturday evening after class and arrived Sunday morning at 1:45 a.m. Then I slept at my friends place, caught up with another friend of mine for lunch downtown, then went down to the premiere, which was playing at the Scotiabank Theatre. I have never seen a bigger movie theatre, it was huge and sold out to boot. I took my seat with the rest of the cast and crew and proceeded to watch the film that had been a year in the making.

All the Wrong Reasons was a beautiful exploration of real relationships and issues and how they affect  every day people and their lives. Gia Milani executed it so gracefully, I found myself getting completely invested into the lives of the characters, despite having read the script previously. Karine Vanesse's performance was stunning as a woman who is suffering from PTSD and trying to keep her marriage together. She is married to the late Cory Monteith, who completely pulls off the middle aged store manager longing for a change in his life.  Kevin Zegers also surprised me with his ability to transform into a recently injured fire fighter working to get his life back. They all did a phenomenal job bringing life to the screenplay Gia had written.

After the film, Karine, Gia, Emily Hampshire, Denis Theriault and myself headed out to the after party, but not before seeing James Franco getting his photos taken right in front of us! The after party was at this swanky place called the C-Lounge and as we entered Adrian Brody was leaving with his entourage. Looking back, the best part about the party (besides the amazing free food and open bar) was that there were so many Nova Scotian's there. At first, I felt like I fish out of water surrounded by all these people associated with the Film & Entertainment industry, but as I walked around and investigated (while continuously eating sliders and sushi) I found my community! It was so wonderful to see so many familiar faces and made me ease right into the situation and have an absolute blast. The whole evening was surreal to me and made me feel like Cinderella, especially since I had to dart off back to Montreal at midnight.

I arrived in Montreal around 7 a.m. Monday morning, and went to class still wired off the events that had happened only a few hours ago. That week we worked with Andrew Shaver for 3 days on creating our Voice Over demos. He is an extremely cool guy, and the voice of Subway, and brought in a lot of his friends including Danny Brochu (The voice of Buster Baxter from Arthur) from the Radio, Television, Video Game and Animation world to answer our many questions about the industry and how to transition into it. I really hope he is able to come back to teach us later this year, I had a blast getting in the studio and messing around with voices sound effects. After working with Andrew and his friends I am seriously considering Voice Over work as an endeavour.

This morning I arrived back with my classmates, we just spent two days in Niagara-on-the-Lake seeing 5 shows at the Shaw Festival. I really enjoyed myself and the vibe I got from the Festival. We had the chance to speak with a panel of actors from the company who were extremely inspiring. They had such great advice and really made me feel positive about the choices I am making as an emerging actor. We had the pleasure of seeing Major Barbara, Peace in Our Time, Trifles, and Guys & Dolls. 

Tomorrow we begin rehearsals for out first show; Lion in the Streets by Judith Thompson. I have been looking forward to this moment since I returned to Montreal, the play is a gritty, psycho-sexual piece that is raw and unforgiving and I cannot wait to sink my teeth into the text and bring it to life with my classmates and Ravi Jain, our Director. I have spent most of my Sunday preparing my script and readying myself for the week. Lion in the Streets is premiering in the Hydro-Quebec Studio space at the Monument-Nationale, October 22nd.

Also, BONE DEEP opened at the Atlantic Film Festival on the 14th to a sold out crowd, and I have received a lot of praise for my performance. I am extremely proud of the film, a lot of heart went into it. I hope that people continue walking out feeling just how much.

I need to sleep.

Night Abyss :)

Live Big. Be Big.

Hey Abyss,

I'm back in Montreal!

It's surreal to me that school is back in session tomorrow. I am really looking forward to seeing everyone again and finding out more about the first show: Lion In the Streets by Judith Thompson. We have already been contacted by the costume designer and my classmates and I are getting our measurements taken tomorrow, which is just -- nuts. I remember sitting in 1st year watching the 3rd years and thinking that I had such a long road ahead of me before I could grace the Monument stage.

And now, here I am!

Shift --> Towards the end of last week I was fortunate enough to grab a coffee with Cory Bowles after he wrapped up his directorial duties on the Trailer Park Boys, Season 8. A few weeks ago I had never had the chance to meet Cory, we had only really talked via Twitter and Facebook, but I am so glad that he agreed to meet with me. See, we are both from Truro, Nova Scotia and he has accomplished a lot in his career (take a gander above) and I continue to be inspired by him and his dedication to making outstanding work.

In our conversation we talked a lot about how when artistic communities start to get sedentary it inevitably lowers the standard of artistic output which then alters what the general public considers "worth their money". This then leads the artists into a decline in commitment to the work and therefore no need to do challenging work, which is extremely dangerous. This conclusion lead us to talk about Cory's career and how he always strives for the top. Every project he involves himself with he aims to win. He puts a copious amount of time and work into making sure that it is his best output possible in that moment. Now, of course no one can achieve complete perfection but what is the harm in trying!

This brings me to my post-point: Why not just set an impossible goal for yourself and strive toward it every day? That may seem ludicrous...but in fact if you keep your standard of work and goals up consistently, then you simply can't fail. You only have to try harder then you did yesterday, make more connections, dedicate more time to challenging yourself artistically, challenge yourself to dedicate more time to your art. And then when people tell you it won't work, prove them wrong.

The only way we can fail is telling ourselves that we will.

And likewise for the opposite.

It is this ideology that I am trying hard to implement in myself, because at the end of my life am I going to be happy that I half-assed a lot of things and only cared about a few. Or am I going to have a fuller life by dedicating every ounce of myself to every project I choose? I, think the latter. Of course, I am realistic and there are going to be things that I loathe and complain about, but in those instances I should prove to myself that I may be cutting myself off from learning something from those experiences. I would rather walk away educated than depressed and mentally exhausted from complaining.

So, if we want big things to happen to us, then we have to think big and do what we want, not what everyone thinks might be best. Surprise ourselves, take chances, learn from our mistakes, laugh at ourselves and STOP OVER-THINKING because that only leads to making excuses for not trying. And I am the living example of that. I have cut myself out of so many experiences because I needed to analyze every potential outcome and ended up missing the boat and ticking off everyone around me.

But alas, things will change!

Right now, I want to bring attention to the fact that All the Wrong Reasons is premiering at the Toronto International Film Festival to a sold out audience on the 8th! And, for those of you who may have missed it,  I am featured in the trailer for the film which was uploaded by Entertainment Weekly earlier last week.

All the Wrong Reasons Trailer!

Also, the short film BONE DEEP, which I am headlining, premieres next week at the Atlantic Film Festival in Halifax, Nova Scotia!

That is all for now, got to get some sleep before school tomorrow!

Night Abyss.

Passion > Work

Hey Abyss,

Last time I posted it was raining and coincidentally it is also raining now, providing for the perfect opportunity to write and be studious. I am going to proceed down this road now.

Yesterday morning I travelled to the set of All The Wrong Reasons, starring Cory Monteith AKA Finn Hudson from Glee,  Kevin Zegers from Gossip Girl and Air Bud and a lot of other talented people. My scene (one HUGE line) was with Cory. I was stoked to meet him and one: confirm we was actually as tall as people have said, and two: See if he was a genuine as people had said.

Well the people were right on both counts.

The set was had an awesome feel to it, everything was really chill and the cast and crew were in really great moods despise the fact that they had been doing 7 days of night shoots that took them into the wee hours of the morning. This project was the directors first feature film and she was so pumped to see her bring child coming to life. Awesomely enough the director is from New Brunswick, so kudos to fellow Maritimer Gia Milani!

While preparing for the scene Cory and I got to talking about where I go to school, the National Theatre School of Canada, and he said that he had wanted to go there when he was my age and also mentioned that his mentor graduated from there. Throughout the shoot we continued to talk and Cory ended up offering me a drive back home.

On the drive home we talked about the projection of his career and how he was envious of the fact that I am getting to study where I am, as well as his life before and after Glee and how he wants to get back to the thing he loves which is making quality films (something I have huge respect for and share in the dream of). He told me about his life in Vancouver and offered me his email to keep him updated on my life and if I ever move to Vancouver to let him know.

He told me that the reason he wanted to drive me home was because he saw something in me and wanted to talk about what I had in store for myself. I felt so honoured to ride home in a car with someone who has reached the pinnacle of fame and still longs to make quality art and, of course, has rubbed shoulders with the big guys at the Oscars.

He is truly a humble and grateful person and it inspired me to make sure to always have my morals no matter where life chooses to take me.

The movie is scheduled to come to Canadian Theatres next year and will then be making a TV debut.

Here are some notable links about the movie and those involved:

http://www.shoreroadpictures.com/index.php?option=com_content&view=article&id=97&Itemid=104
http://www.hollywoodreporter.com/news/glees-cory-monteith-kevin-zegers-355804

Night Abyss